kNoB technology AGNI (VCA, Wavefolder, Distortion, Tone, Feedback, Eurorack) Demo and tutorial

video by kNoB Technology

Follow-up to this post.

"AGNI - is our pride, this is a complex signal processing device that includes: voltage-controlled amplifier (VCA) combined with a Wavefolder, then the signal goes to the Distortion section, which amplifies and distorts the signal, then the signal is filtered by a passive filter and goes to the output amplifier, AGNI also has a feedback unit which provides an output signal to the input of the device.

Time sections:
00:00​​ Intro
00:24​​ Hello and block structure
01:18​​ VCA/Wavefolder
02:24​​ Distortion
03:04​​ Tone
03:27​​ Feedback
04:46​ CV control
06:54​​ Self-oscillation
09:27​​ Square: phase rotation
10:45​​ Sawtooth: waveshaper and folding
11:22​​ Triangle: all like as sine
11:40​​ External sound processing: Drums
12:41​​ External sound processing: Long sounds
13:35​​ External sound processing: Plucked sounds
14:38​​ Thick distorted bass patch"

Musikmesse: KORG Monotron Analogue Ribbon Synthesizer

"Analog synthesis returns, in the legendary KORG tradition
Korg is no newcomer to the joys of analog synthesis. Back in the 1970s, our astounding fully polyphonic PS-3000 Series and our affordable semi modular MS Series set the bar for creative musicians around the globe. Surely one of the most popular of Korg's analog synthesizers was the coveted MS-20, famous for its dynamic sound creation capabilities and its fat, snarly, expressive filter. Kept popular by dance and electronic artists, this legendary MS-20 filter came back to life using the Component Modeling Technology in Korg's Legacy software collections. Now you can experience the glorious, evocative MS-20 filter along with true analog synthesis in Korg’s new monotron Analogue Ribbon Synthesizer!!

Analog on the go!
Powered by two alkaline AAA batteries, the compact monotron can be held in one hand. Although small enough to easily carry with you, the amazing monotron is packed with KORG's legendary analog technology, generating thick and powerful sounds. Concentrating on the most important sound parameters, the controls have been streamlined as much as possible. The panel contains only five knobs and one switch. With this level of simplicity, now anyone can easily enjoy the world of analog synthesizers.

Product Highlights:

* Full-fledged, true analog synthesizer: VCO, VCF, LFO

* Inspiring, easy-to-play ribbon keyboard

* Intuitive, fun-to-tweak controls

* Features the same classic analog filter found in the legendary Korg MS-10 & MS-20

* Filter any external source using the audio input jack

* LFO can modulate either pitch of filter cutoff

* LFO Rate knob features cool LED visual indicator.

* Battery operation and palmtop size equals true portability

* Internal speaker/headphone jack lets you enjoy the sound anywhere – alone or with friends!

Ribbon controller keyboard offers easy expression
Borrowing the enjoyment of performing with a simple touch from Korg's wildly popular KAOSS products, the monotron's ribbon controller keyboard takes this ease of use even farther. Simple finger gestures can produce expressive effects such as vibrato and glide. Used in a band, you can expand your possibilities by harmonizing with another instrument – or taking center stage for a monotron solo!

1VCO, 1VCF, 1LFO – Modular synthesis building blocks
The monotron's circuit is radically simple: one voltage-controlled oscillator, one voltage-controlled filter, and one low frequency oscillator. Since each knob directly applies a specific change to the sound, the process of sound creation is intuitive, and instantly understandable. Simple is best. Gone are the deep lists of presets and parameters typical of today's synthesizers. Instead, the monotron encourages exploration and experimentation. The monotron provides the joy of sonic creativity that's at the heart of analog synthesis, making it an ideal choice for someone who is new to synthesizers, or for musicians who wants to expand their sonic palette.

The famous Korg filter
The monotron uses the same highly acclaimed VCF circuit as KORG's classic MS-10 and MS-20 semi modular synthesizers. Originally released over 30 years ago, these instruments are still coveted today for their aggressive, dynamic filters. The VCF Cutoff knob sets the frequency or tone of the filter; the VCF Peak knob adds emphasis. A powerful filter is an essential aspect of any analog synthesizer, applying dramatic tonal changes to the sound, and projecting an intense personality that will stand out in any live performance.

Semi modular satisfaction
Just as on the original MS-20, the monotron's filter can be "patched into," allowing any external audio source to be processed by the monotron's filter. The input jack (AUX input) built into the monotron's compact body inserts the AUX input into the signal path right before the VCF. This provides a great way to connect a KAOSSILATOR, a keyboard, a guitar, a digital audio player or even an un-mixed track to the monotron and enjoy tone-bending filter effects.

Versatile LFO provides audio – and visual – excitement!
You can switch the LFO to control either the oscillator pitch or the filter cutoff frequency. Both LFO Rate and LFO Intensity knobs are provided. As you turn the LFO Rate knob – featuring an embedded LED – the speed of the modulation effect and the speed of the blinking LED will change in tandem. Turning this knob can add another level of impact to your live performances.

Listen anywhere – alone or with friends
A miniature speaker is built into the monotron. Along with the battery operation and compact size, this feature allows you to enjoy the monotron anywhere, at any time. The ultimate in compactness, this system brings you new possibilities for performance. There's also a headphone output that you can use when creating sounds at home, for recording, or for connecting to an amplifier or PA system."

http://www.korg.com/monotron


YouTube via Moogulator. previously posted

Update:

Korg Monotron

YouTube via BorisAlexander2008. In via Russ.

Update2: you can find two audio demos on the Japanese KORG Monotron site.

Synclavier Go! and Synclavier Pocket! for iOS Released

You can find some demos in the archives. The press release:

NOVA SCOTIA, CANADA: having turned heads and opened ears with a show-stopping showcase at The 2019 NAMM Show in Southern California, January 24-27, newly-formed Synclavier Digital is proud to announce availability of Synclavier Go! and Synclavier Pocket! — placing a re-creation of the seminal Synclavier® II Digital Synthesizer’s sound engine from which they take their names into the respective hands of iPad and iPhone/iPod Touch owners as awe-inspiring iOS apps, allowing all the famed FM (Frequency Modulation) and Additive (harmonic) synthesis capabilities to be brought forward forty years for all to musically marvel, at a fraction of the original’s prohibitive pricing thanks to today’s technology, while also effectively emulating the iconic instrument’s intuitive panels of easy-to-touch red backlit buttons and iconic control knob in easy-to-use user interfaces — as of March 5…

Put it this way: while the still-highly-coveted brand of Synclavier® — synonymous with high-end audio production technology that blazed a trail through the Seventies and Eighties before stalling in the Nineties — is in the midst of a galactic reboot, thanks to Nova Scotia-registered Canadian Corporation Synclavier Digital, established in 2018 to re-create a modern iOS-based version of the Synclavier® Digital Audio System, Synclavier Go!, its inaugural iPad offering, is far from being a clone, however... to all intents and purposes, it is a Synclavier®!

So how, exactly, did yesteryear’s trailblazing technology that commanded a princely six-figure sum end up available on Apple’s pocket-friendly iOS platform in true needs of the many outweighing the needs of the few style? Simply speaking, when New England Digital (NED) went bankrupt in the Nineties, technology finally having caught up with the cutting-edge company concerned, co-founder Cameron Jones — co-inventor of the Synclavier® — bought the intellectual propriety rights to the trailblazing series of synthesizers and digital audio systems sharing the notable name.

CLICK FOR MORE »

Rebel Technology CLK Demo

Published on Jun 8, 2018 Rebel Technology

via Rebel Technology

"CLK is a 4HP triple clock generator that outputs three synchronised clocks. It comprises of a master clock and two dual function multiplier/dividers. Turn clockwise to multiply, anti-clockwise to divide. The outputs are always perfectly synchronised. Use it to feed several trigger sequencers or to generate instant ‘four on the floor’ style patterns.

The top knob sets the master clock, ranging from 40 to 200 BPM. The top jack outputs the master clock as 16th notes.

The middle and bottom knobs either multiply or divide the master clock, depending on whether the knob is turned clockwise (multiplication) or anti-clockwise (division) from the centre position. At 12 o’clock they output the same clock as the master, that is to say they multiply / divide by 1.

The middle knob values are 1 in the centre, then 2, 3, 4, 6, or 8 times as you move away from 12 o’clock.

The bottom knob outputs 1, 2, 4, 8, 12 or 24 times multiplication or division.

tbd: output diagram, per multiplier, per output."

kNoB technology SGR1806-20 Like as Synth Voice and FX

video upload by kNoB Technology

"The second part of the review of the SGR1806-20 module.
Here I tried to show that you can use the module as a synthesizer voice.
And also, how to pass signals through the module for processing.

Time sections:
00:00​ Intro
00:03​ Use and settings as a synth voice
03:34​ Settings for running only one generator
05:03 Various settings of the module during arpeggiation.
08:44 Using SGR as an effects processor
10:33​ Using a control input for wavefolder
14:29 Using a control input for distortion
15:34 Using a Gate input for Envelope generator
18:48 Using a control input for Spread function"

kNoB technology AndOrNorXor Self Patchable Eurorack Boolean Logic Module Demo

kNoB Technology

"Andornorxor is a combined boolean logic device, consisting of logical elements AND OR NOR XOR and NOT (analog), as well as a small passive signal splitter, where each logic gate compares the voltages at its inputs and gives at the output the result of a mathematical equation, corresponding to the type of logical gates. The device is designed so, that the signal can be sent to all inputs on the AB, A, and B lines, or separately on each logical gate, the device independently connects certain signal paths, depending on which connectors are used at a given time.

Using this module, you can create sequences based on a variety of signals, process sounds, and create auto-generative patches
8HP 3U skiff friendly
Price 100$+ shipping
To buy write to us on knobtechnology@gmail.com

Time sections:
00:00 Hello
00:05 Block structure
00:16 Signal multiplication and sending
00:51 Inverting the gate signal
01:20 AND gate
02:00 OR gate
02:23 NOR gate
02:40 XOR gate
03:04 Adding more input signals
03:32 Logic gate transformation
05:03 Audio processing
06:30 Logic noise
07:28 White noise"

New semi-modular drone\noise synthesizer Muscarin by kNoB tecnhology

Published on Jun 12, 2018 kNoB Technology

"The first prototype. If you need more information, please contact us at knobtechnology@gmail.com"

There were previous Muscarin models by kNoB Technoloby as well.

Playlist:
New semi-modular drone\noise synthesizer Muscarin by kNoB tecnhology
Drone\noise synth Muscarin + Korg Sq1
Muscarin one shot sound preset
Muscarin LoFi drums sound preset

BX-13 V3 Expanded Bus Converter Version 3

images via this auction.

"For about ten years, Roland Corporation and other manufacturers produced a range of unique, very high quality 24-pin guitar synthesizer controllers. With the advent of the contemporary Roland 13-pin standard, vintage guitar synth owners could only access the latest in guitar synthesizer technologies with the incredibly rare, hard-to-find Roland BC-13 Bus Converter.

The BX-13 V3 is the answer for vintage guitar synthesizer players who want to access modern guitar synthesizer technology while playing their treasured vintage guitar synth controller. The BX-13 V3 is more affordable than the typical "collector" prices on the Roland BC-13, and it has more features.

This diagram shows how the Roland BC-13 uses the Resonance knob to switch guitar and synth on and off. The BC-13 uses the Resonance Knob (CV#2) in a way that is very similar to the Mode switch on the vintage GR-series guitar. But rather than having a three-position switch, the knob has three "zones." The first zone is guitar only, the middle zone is guitar and synth, and last zone is synth only. Confusing? Yes.

As you can imagine, it is almost impossible to quickly and accurately turn guitar and synth signals on and off.

The BX-13 V3 improves on the BC-13 by adding two dedicated foot switches with LEDs instead of using the Resonance knob. One foot switch is for Synthesizer Output, and one is for Guitar Output. Nothing could be simpler for controlling the outputs of your Synth and Guitar signal. In addition, the BX-13 V3 in enclosed in a rugged, stomp-box type enclosure. The BC-13 is an inline design, basically a giant lump in the middle of your guitar cable, much like the AC transformers popular with some manufacturers.

Top Panel Controls
The BX-13 V3 adds top panel controls for synthesizer and direct (humbucker) guitar output, plus a switch to select from guitar or hex fuzz sound for Roland G-202, G-303, G-505, or G-808 players. All three outputs can be accessed by selecting the hex fuzz sound with the BX-13 V3 and using the 1/4” Guitar output jack on the guitar.

A look at the schematics of various Roland guitar controllers reveals that no two are wired exactly the same. Likewise, the internal circuitry of a Roland GI-10, GI-20 and GR-20 differs with each unit. As a result, maximum volume levels can change with different guitars or different synthesizers. The original BX-13 used a "one-size-fits-all" calibration like the BC-13. Now, the BX-13 V3 adds a top panel control to easily fine-tune to synth volume output for maximum sensitivity and maximum output.

The BX-13 V3 also adds a top panel control for the direct (humbucker) output of the guitar as well. With the original Roland BC-13 and BX-13 this volume was fixed. Also, if you are using a Roland G-202, G-303, G-505, or G-808 you can also select the hex fuzz guitar output instead of the direct (humbucker) output. And, by plugging a Roland EV-5 volume pedal into the BX-13 V3 you can control the volume of the direct (humbucker) or hex fuzz output.

Buffered Electronic Connections:
The early Roland Guitar synth controllers, such as the G-202, G-303, G-505 and G-808, do not buffer the output of their volume controls. Later guitars, like the Roland G-707 and the Ibanez IMG2010, added a buffer stage to their volume controls. As a result, early guitars tend to "load" the input to the Roland BC-13, resulting in only 80 to 90 percent of the full volume output.

The BX-13 V3 solves this problem by adding an electronic buffer stage for the volume signal. The electronic buffer stage isolates the volume control signal so that any vintage guitar works smoothly with any modern guitar synthesizer.

Inputs and Outputs
Like a Roland BC-13, the BX-13 V3 has a 24-pin Guitar Synth a 13-pin Guitar Synth output connector. With only the 24-pin cable plugged in, the level of the direct (humbucker) guitar sound is controlled by the top panel guitar volume knob, and by the optional EV-5 volume pedal. If you want to vary the level of the direct (humbucker) sound using the volume knob on the guitar, then a second cable is connected from the 1/4” Guitar output jack on the Guitar Controller to your mixer or amplifier.

Compatible with Vintage Bass Guitar Synthesizers:
The BX-13 V3 has also been thoroughly tested with the vintage Roland bass guitar synthesizer controllers like the G-88. To test for compatibility, the G-88 was plugged into the BX-13 V3, then the BX-13 V3 was connected to a GI-20. The Roland GI-20 supports bass guitar synths with a switch on the back panel for bass operation.

Other Roland guitar synths, such as the GR-50 may not work properly, since they were not designed to handle to lower frequencies of a bass guitar.

New Yamaha MODX Synthesizer Demo Videos

Published on Sep 14, 2018

Update: added fourth demo to the playlist above, and the official press release below.

Playlist:

1. Yamaha MODX Synthesizer - All Playing, No Talking! - Kraft Music

Find exclusive Yamaha MODX Synthesizer BUNDLES at Kraft Music:
https://www.kraftmusic.com/search?q=Y...

Kraft Music's very own Adam Berzowski plays on the Yamaha MODX8 Synthesizer at Kraft Music.

Yamaha MODX synthesizers are equipped with an inspiring and sophisticated synthesis engine based on the same technology that powers the flagship Montage. Motion Control Synthesis, Motion Sequences, the Super Knob, and 4-Part Seamless Sound Switching provide expressive and interactive control of the AWM2 and FM-X sound engines, bringing music production automation to realtime live performance. An A/D input processes external audio sources, while audio and MIDI can be sent and received via a single USB cable. The 61-key MODX6 and 76-key MODX7 feature non-weighted synth action keyboards. The MODX8 features an 88-note weighted keyboard action.

Get more for your money with an exclusive Yamaha MODX synthesizer bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new synth, all for one low price. If you have any questions, please give us a call. Our knowledgeable Sales Advisors will be happy to assist in choosing the bundle that's right for you!

2. Yamaha MODX Synthesizer Review + Sound Demo & Tutorial - BoBeats

Review of the Yamaha ModX Synthesizer + sound demo and tutorial. BE AWESOME and become a Patron: http://www.patreon.com/bobeats

TIME STAMPS/PARTS
Part 1: Basic features 2:35
Part 2: Creating a sound 4:44
Part 3: Adding a FM voice 13:27
Part 4: Motion control 19:00
Part 5: Computer integration 27:13
Part 6: Pros and cons 28:56
Part 7: Alternatives 30:58

3. Yamaha MODX unboxing and demo!

The Yamaha MODX6 has arrived in the shack and we'll introduce this interesting and significant new synth, do a leisurely unboxing, discuss the features and specifications and then play some of the signature sounds using the new FM-X synthesizer engine. We'll be demonstrating the MODX6, which has the same features as the MODX7 and MODX8, with technology inherited from the flagship Yamaha Montage.

This is the successor to the Yamaha MOXF6 and the Yamaha MOTIF that we have previously featured on the channel!

4. YAMAHA MODX SOUND DEMO - BoBeats

A sound demo of the Yamaha MODX!

And the official press release:

"Yamaha MODX Incorporates Flagship Technology into a Lightweight, Affordable Line of Synthesizers

NEW YORK, N.Y. (September 14, 2018) — Yamaha today unveiled the MODX - a line of compact, lightweight, hybrid synthesizers inspired by flagship Yamaha synth technology to offer dynamic, expressive music-making at an affordable price.

This successor to the popular Yamaha MOXF line will be available in three models – MODX6 (61 semi-weighted keys), MODX7 (76 semi-weighted keys) and MODX8 (88 weighted and graded keys) – to fit the needs of synth players, keyboardists and pianists alike.

The power of the MODX offers musicians unlimited potential to create their own unique sound. The MODX sound engine draws on the same technology powering the flagship MONTAGE synth: AWM2 (Advanced Wave Memory 2) sample and synthesis engine plus a pure FM-X (Frequency Modulation) synthesizer modernized for dynamic synthesis and complex sound design. The MODX also incorporates Motion Control, a highly programmable control matrix for dynamic sound interaction. This gives musicians unparalleled ability to direct and manipulate their sound by interacting with their Performances in fine detail.

The MODX expands on the MOXF by offering a wide array of control and workflow elements. Seamless Sound Switching has been introduced in the tradition of MONTAGE to allow switching between Performances without any sound cutoff. MODX has DSP power with up to 13 simultaneous dual insertion effects and 3 system/master effects. MODX polyphony has been increased to 128 notes of stereo AWM2 (sample-based) plus 64 FM-X (Frequency Modulation synthesis.) The control panel now includes four faders, multi-function Super Knob and a touchscreen display.

At the same time, the MODX is housed in a lightweight body that makes it easy to carry to sessions, gigs and rehearsals. Also, like its predecessor, the MODX comes bundled with Steinberg Cubase AI DAW software for creating and producing music on the computer.

Synth players and sound designers will appreciate the deep programmability of Motion Control and the MODX FM-X synth engine. The versatility of the MODX and the wealth of onboard keyboard, synth, brass and strings sounds will appeal to keyboardists needing a wide variety of sounds, and 88 weighted-action keys, designed with the benefit of over 125 years of Yamaha piano craftsmanship and over 40 years of synth innovation, will suit any pianist.
“MODX sets a new standard for mid-range synthesizer sound, control and mobility,” said Nate Tschetter, marketing manager, Yamaha Synthesizers. “With advanced flagship technology in a lightweight, accessible package, MODX excels on stage, in the studio and in a wide array of creative situations.”

Pricing and Availability
The Yamaha MODX6 (MSRP $1,649), MODX7 (MSRP $1,899) and MODX8 (MSRP $2,399) are scheduled to ship September 27.
For more information, please visit http://4wrd.it/MODX"

Search for Yamaha MODX below for more.

circuit bent KORG KAOSS PAD KP1 - Red

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Way back in 1999 (its seems like longer) the Korg Kaoss Pad seemed like some kind of visitation from an alien technology. Aesthetically, it looks fairly primitive today, but back then it was the first of its kind. The technology was lifted straight from the Korg Z1, which was essentially a polyphonic Korg Prophecy released in 1997, but the KP1 was certainly the first stand alone effects device with a two axis touch pad controller.

If you want to read a review detailing the full specs of the KP1, you won't go far wrong with the Sound On Sound review from 1999 that can be found HERE. Essentially the KP1 features 60 different preset effects in six banks of 10 filters, modulation effects, delays. reverbs. SFX and sampling. Each effect preset has various different realtime control parameters assigned to the touch pad, so on a delay preset you might find that the delay feedback is increased as you move your finger on the pad towards the top left, or reverb might be introduced as you move your finger towards the bottom left etc etc. Normally when you remove your finger from the pad the effect is turned off, but at any point you can press the 'Hold' button and the effect is locked on in the last pad position you used.

The 'sample' presets are especially interesting, as they allow you to sample a sound into the unit, and then the sample is continuously looped as long as you are touching the pad. On the various sample presets the pad position is assigned to such things as the sample loop point, loop length, playback speed, forward/reverse playback etc.

As you can see, we have added a new control box to the side of the KP1. The box itself is made from a translucent red plastic, and we have installed several LED's inside so the whole thing lights up when you turn the unit on....... Nice! :-)

The control box houses a 16 way 'bend bus' switching matrix, and a clock speed knob. There is also another new switch mounted on the main casing just in front of the new control box which switches between the normal clock speed, and the new clock speed knob.

The new clock speed knob controls the running speed of the onboard sample RAM. This means that it will control the playback speed of any samples, the length of both the delays and reverbs, and the depth of any other effects that use the sample RAM, such as flanging or chorus. This works independently of any other effect or pad settings.

The clock speed also appears to control the sample rate of the RAM. On the KP1 the clean input signal is always run though the A/D and D/A convertors before reaching the output as there is no true bypass. This means that even when there is no effect running, the clock speed knob will change the sample rate of the input signal. This allows you to take a normal input and take the sample rate down to give drum loops more punch and dirt, until at the bottom of the knobs range the input sounds like its playing back through some kind of underwater drug experience.

The switch allows you to quickly switch back to the standard KP1 clock. Unlike many units that can be re-clocked in a similar way, on the KP1 you can freely switch between the standard clock speed and the new clock speed knob at any time, without the unit locking up or crashing.

The 16 way 'bend bus' switching matrix allows you to apply various kinds of comb filters, pseudo ring modulation, bit crushing, distortion, and what can only be described as audio smearing™ to any affect that uses the sample RAM in any respect. Each switch has a certain effect that is usually associated with it, although its effect can be altered depending on which other switches are activated simultaneously. You have to activate more than one switch at a time for any effect to work, but when two or more switches are activated their associated effects will combine to produce something entirely new. The demos below do tend to highlight the savagely brutal end of what this machine can do, but thats only because its more fun! It is very keen on distorting sounds way beyond the outer limits of what is strictly healthy, but it's also capable of producing a range of more subtle and sometimes strangely beautiful alien sounds.

The final, and we think you'll agree, most important mod to this machine, is a new spiral backing to the touch pad. You might ask why, but it would probably be more appropriate to ask, why not? Since when have we needed an excuse to make anything look more psychedelic? ;-)

The unit does very occasionally crash and lock to one effect when you quickly change preset effects with the clock speed set low. For some reason this mainly happens with the filter effects, but with a little practise it is completely avoidable and simply restarting the thing resets it. The unit will be supplied with a power supply (240v with a UK plug), and the two page manual can be downloaded from HERE

Round the back is a midi output (sends midi control changes from the pad), atereo inputs (phono and line level) and outputs on phono sockets, a mic input so you can process a vocal live, and a direct / FX loop switch. This final switch removes the original signal to give a 100% effect output for use on a mixing desks FX sends.

Below are some demos of what this machine is now capable of. The first is a fairly long and brutal destruction of a very simple pattern supplied by a Yamaha RM1X. The second demonstrates what can be done to delays, and shows what can be created by the unit itself without an input when the mods are applied to the reverb effects. The third demo is the result of processing a breakbeat, again from a RM1X. The fourth is a stereo ambience and the final demo is a continuation of the first, only with more of a bad trip feel to it."

CLICK FOR MORE »

Rebel Technology Bit Reactor

via Control on Facebook

"NEW Bit Reactor care of the UK's Rebel Technology is now available. Bit Crusher / Down Sampler / 10HP"

"The Bit Reactor is a hardware bit crusher and downsampler. It has no program or CPU, it digitises without software. It takes whatever signal you give it and crunches it up into digital atoms.

We live in an analogue world. But most of the media that we encounter today is digital: an attempt to reproduce real-world signals with a stream of 1s and 0s.

In the realm of modern electronics there’s plenty enough processing power to create a crystal-clear digital copy of pretty much any analogue signal. The Bit Reactor, on the other hand, explores what can happen when we take all that processing power and throw it out the window. Think of an old Atari or NES in all its 8-bit glory and you’ll start to get the idea.

There are two main parameters to play around with on the Bit Reactor: bit depth and sampling frequency. Less bits means the signal levels can’t be properly reproduced, and this can result in anything from a fairly subtle to a super-clipped square wave distortion and its associated harmonics. Meanwhile the sampling frequency determines the maximum frequency that can be accurately reproduced. As it is decreased, the higher frequencies present in the input can no longer be accurately recreated. But rather than these frequencies simply being discarded, they reappear at a different, enharmonic frequency due to the phenomenon known as aliasing. These effects, on their own and in combination, create unique audio artefacts that range from subtle colouring to complete destruction.

The 8 small LEDs surrounding the middle knob represent the number of bits being used (each LED represents 1 bit); as the knob is turned clockwise, more bits are added and more LEDs are lit.

The sampling frequency increases as the knob is turned clockwise. At the fully anti-clockwise position the sampling frequency will be so low that virtually no note will pass through unscathed.

Both of these parameters can be modulated via the CV inputs and the modulation depth is also adjustable for both parameters. Modulation is positive, meaning an increase in CV corresponds to turning the knob clockwise, and vice versa.

Finally there is an input level adjustment to provide a small boost or cut as required to get the maximum tonal variance out of the bit crush. To fully exercise the dynamic range of a handful of bits the input should be high but not clipping. If the input level is low, there won’t be a marked difference when at the lower end of the bit knob. This can be demonstrated by taking a rather extreme example: at 4 bits, the output is stepped with a resolution of just over 300mV per step. That means that if the input level were 300mVpp, at 4 bits the output would already be a square wave (one step), exactly the same as when using 3, 2, or 1 bit.

On the other hand, an input level that is too high could also be undesirable. The module’s input has a limiting circuit which caps the signal at 5Vpp. With an overdriven input this limiting circuit will already be distorting the signal before it even gets put through the analog-to-digital converter. The higher the input level, the more it will be distorted. There will be those amongst you, I’m sure, who will say ‘And the problem with that is..?’ However if the goal is to only colour the sound with the crushing/downsampling and nothing else, the option is there to cut the input down to size.

Now GO MAKE SOME NOISE!

Dimensions

Width: 10HP / 50.50mm
Height: 3U / 128.50mm
Depth: 20mm
Weight: 135g
Power

16-pin Doepfer/Eurorack
PTC fuse and diode protected
+12v: < 45mA
-12v: < 12mA
+5v: < 45mA
Impedance

Output: 1k
Input: 100k"

Muscarin 411N Drone Synthesizer by kNoB tech

Muscarin 411N first contact


Muscarin 411N Drone synthesizer by kNoB tech Demonstration

kNoB Technology
Published on Aug 7, 2017

"Muscarin 411N - textural synthesizer, drone machine, noise synthesizer.
4 x VCO (Saw wave(ramp down)СV control)
4 x Touchpads (Touchpad generators control)
1 x LFO ((Square & Triangle wave) both waves can be used at the same time)
1x VCF (clean lpf\distorted lpf\fixbp mod,CV control)
1x Bias Control
1 x Red button ^__*
1 x Out
1 x Hybrid In\Out
1 x Power input, 9V direct current (100ma Max)
Body frame - organic glass, sides - wood, paint, varnish.
Price 220$ + shipping
Production time: 2 weeks
To order synth or if you need more info: knobtechnology@gmail.com"

Some History on the Development of the Moog Little Phatty

For whatever reason a thread cropped up on AH questioning Bob Moog's involvement with the Little Phatty and specifically whether he was involved at all. One, I remembered the project started when he became ill and two, core bits of the tech is based the Voyager! Even if he wasn't hands on, much of the technology that makes it what it is would still have come from him. I don't get it. That aside the following is an intersting insight to Bob Moog's involvment as well as the involvment of his team.

"Bob was completely involved in the genesis and design of the Little Phatty. He was actively working on the project when he became ill. He wired up the first prototype, which was built from a modified Voyager analog board wired directly to a panel of pots. The original idea was a stripped-down all analog two-oscillator performance synth, with a minimal but effective feature set and a knob per function on the panel. No MIDI, no patch memory.

This concept did not survive any opinion surveys, which all indicated that MIDI and memory were required features. Once we added a digital board to the design, the knob-per-function interface became too expensive to keep cost within our target for an inexpensive two-oscillator performance synth.

So, the final Little Phatty interface was conceived, using a knob per synth section rather than a knob per function. I believe this layout was conceived by Axel Hartmann. The Real Analog Control [RAC] system, where pots are both scanned for digital value and physically switched into the analog circuits which they are controlling, was conceived by Steve Dunnington.

So, Bob Moog brought the Little Phatty project into being, and shaped its original feature set. Most importantly for this project, he select Cyril Lance in particular to be his assistant/successor, after a very discriminating search. Cyril stepped in at the point when the project code-named "el P" was making the transition from all-analog to midi & memory, so he designed the Little Phatty digital board as one of his first projects for Moog Music. Prior to this, of course, Cyril had been a consulting engineer, a particle physicist (graduate of Cornell; same university as Dr. Moog), and of course a touring blues guitarist of some repute. Even though the digital board design was ultimately Cyril's, it was done in close reference to the digital board of the Voyager, which was rather similar to the digital board of a Memorymoog. As for the Little Phatty analogue board, it is comprised almost entirely of circuits taken directly from the Moog Voyager. The're the exact circuits Bob designed well before his untimely passing, simply configured for a different synth concept. The circuit layouts and corresponding component values for a given little subsection are generally identical between the Voyager and LP.
A notable exception is the Little Phatty's Overload circuit, which was designed and painstakingly tweaked by ear by Steve Dunnington. I think he did a good job with that circuit.

So, the LP has Bob's Voyager oscillators and Bob's Voyager envelopes (complete with quirks and circuit errors just like on the Voyager), the same implementation of the ladder filter (only times one instead of two), the same VCA design. An instrument is a whole The digital control, the RAC system, the panel layout, overload... these things were designed by other people, all of whom desired to continue Bob's legacy and to create a real, playable instrument that stood on its own merit. I should mention that the original Little Phatty firmware was written by Chuck Carlson, a programmer who had worked with both Moog and Buchla prior to working on the LP.

I have been the alpha tester for the Little Phatty firmware as it has developed, and I've gotten to make a suggestion or two along the way.

I'm writing this instead of getting sleep here at the NAMM show, so I'd better leave it there.

Hope this helps,
Amos"

Note Axel Hartmann also designed the interface for the Voyager, and a numbe of other synths. Check out this post for the list of synths. You might be surprised. He is the face of many of our modern day knob laden synths.

KORG Introduces New Volca Nubass Vacuum Tube Synthesizer

Published on May 8, 2019 Korg

Priced at $199.99

"The KORG volca nubass is a groundbreaking bass synth implemented with KORG’s new-generation vacuum tube: NuTube. This modernized technology is implemented into the oscillator, sub oscillator and drive circuits; creating incredibly warm tones and rich distortions that only a tube can provide. This unique form of sound generation, along with nubass’ low-pass ladder filter, delivers countless timbral possibilities.

Compact, battery powered with built-in speakers included, the new volca nubass has everything the modern musician needs to take their music to the next level."

Playlist:
KORG’s volca nubass delivers huge bass via a real vacuum tube
Korg Volca Nubass - Overview with Nick Kwas | Kraft Music
Korg Volca NuBass | Reverb




"A powerful bass synth with a sound source based around a vacuum tube oscillator.

The acid bass machine with the pinnacle of modulation and distortion.

Even today, when digital technology allows electronic musical instruments to simulate any sound imaginable, people seek the warm harmonics and distortion produced by analog vacuum tubes. This distinctive sound has a quality beyond words that sets it apart, and cannot be captured by a response curve; it's the unmistakable sound of tubes.

The volca nubass is the first analog synth to be equipped with a Nutube new-generation vacuum tube in its oscillator. Vacuum tube plus analog means that the sound is warm, thick, and rich. The familiar transistor ladder filter gives it the character of a classic bass machine, along with overdrive, and huge-sounding distortion.

An acid bass machine for a new generation combines classic sound with the power of modern synthesizer design. It's the volca nubass.

The fusion of a newly developed vacuum tube oscillator with a classic ladder filter

A vacuum tube oscillator circuit forms the heart of volca nubass, utilizing groundbreaking Nutube technology

The Nutube is equipped with two vacuum tubes; one is used in the oscillator to generate a sawtooth wave or square wave. The other vacuum tube is used in the drive circuit of the sub oscillator, adding depth and warmth one octave below the oscillator. This oscillator and sub oscillator provide a circuit structure that brings out the harmonic character that only a real vacuum tube could provide.

A transistor ladder low-pass filter that produces a distinctive sound

The low-pass filter defines the sound of this bass machine; it uses a transistor ladder design found on classic analog bass synths. This filter is uniquely dynamic in the way it affects a sound more than just ranging from bright-to-dark. Its wide range of timbral possibilities makes it ideal for a broad variety of dance music; you can use it to create the distinctive modulation that can be heard in acid house, or increase the resonance to bring out a sharp character that's appropriate for techno.
Analog driver circuit

nubass is equipped with overdrive that uses an analog circuit reminiscent of a classic stompbox. Turning the knob toward the right compresses the volume while causing mild distortion, adding thickness to your bass sounds. The tone knob also lets you adjust the crispness of the high-frequency range.

volca sequencer makes performing and composing simple and intuitive

A 16-step sequencer that lets you automate parameters

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Synthesizers.com Box11 Pics & Overview

Update: video here.
Some images of my new Synthesizers.com Box11 System. Click on the pics for the supersize / wallpaper shots.

Three things stood out when unpacking this beauty: build quality, attention to detail, and oddly, how surprisingly svelte the system is. Yes svelte. It's thin, beautiful and sleek. As most of you know Synthesizers.com modular systems are in the larger 5U Moog format which are not typically known for being sleek. The Box11 is and it is beautiful.

As for length and width 5U systems do take up more space, and the Box11 is no exception, but what you get in return is a solid system that feels more substantial in terms of build quality and interface.  You get full size knobs and full size 1/4" jacks with zero cable movement when you patch them. There is no give, no patch wobble, just a rock solid connection. The knobs feel substantial and there is plenty of space not only to see things, but to also feel what you are doing, whether you have larger or smaller hands. Some people swear by the larger 5U/MU format. I understand why. [BTW, if you are confused by the 5U vs. MU format. 5U refers to 5 units of height. Think of a thin rackmount unit like the Yamaha TX81Z, or the various Emu Proteus line of racks. They are 1U, so 5U is the same height as five of them stacked one on top of the other. MU is 5U in height, but the M stands for Moog format which means modules in MU format like Synthesizers.com are compatible. There's also Synthesis Technology/MOTM's 5U format which has the same height but different horizontal spacing for the mounting screw holes. To see them side by side along with other modular formats, click on the image in this post.]

From left to right, the Box11 comes with the following modules:

One Q174 MIDI Interface which includes some interesting advanced functionality for a MIDI module: "Three modes of operation offer a variety of outputs for one or two MIDI channels. Outputs include standard 1V/Octave Pitch outputs with 10-octave ranges, 5V Gates, Trigger pulse, On and Off Velocity, Channel Pressure and several Continuous Controller outputs. Complete control over Note Priority and Gate modes provide virtually any type of keyboard response emulating virtually all vintage and modern keyboards along with some that are unique."

Two Q106 Oscillators which include Sine, Triangle, Saw, Ramp, and Pulse waveforms with pulsewidth modulation from any patchable modulation source. There's Hard Sync to synchronize the oscillator to other sources, not only to have oscillators in sync to prevent beating, but also to produce some interesting effects. There are two frequency mod sections, Linear Frequency with one input jack and level knob, and Exponential Frequency with two 1V/Octave inputs and a third input with level knob. The Q106 will also go into LFO range to act purely as a mod source.

One Q150 Transistor Ladder Filter which is based on the famous Moog ladder filter. Both 12db and 24db slopes are available via a switch and one pole and three pole settings are available via a jumper internal to the module. What's interesting is there are two audio inputs and two CV inputs with level knobs for each. This allows you to bypass a mixer for the two oscillators on the Box11 and plug each directly into the filter with the ability to adjust the levels for each. In addition to the two CV inputs with controllable level, there is a third input for 1V/OCT. This allows you to use a keyboard to scale the filter while still having two additional modulation sources adjustable by each level knob.

Two Q109 Envelope Generators with standard ADSR (Attack Decay Sustain Release) settings. The release is set for 12 seconds at max value but can be set to 30+ seconds via a jumper internal to the module. Attack and Decay can also be extended to 30+ seconds. A nice added feature to the Q106 is a Gate button which allows you to trigger the Envelope on it's own. This will be great not only for sonic exploration of drones sans MIDI controller, but also for manually triggering envelop effects on things like filter cutoff or pitch. Note the top Gain knob in the VCA will also bring in volume without the need of a trigger.

One Q108 Amplifier with two audio inputs, two CV inputs, and two audio outputs (one inverted). There's a switch for linear vs exponential response curves of the control inputs. The top Gain knob can be used to open the VCA without a trigger for drones.

Finally we have the Desktop Box11 case with two sets of four way multiples. There is also one blank panel where you can install an additional module of the same width.


Note the above is just a high level overview of each module and how you might make use of them out of the box. For a more detailed overview of each module as well as additional modules see Synthesizers.com

BTW, you might notice one of the pics has the system lying flat on a table.  Call me crazy, but one thing I wanted to try is using the Box11 as a lap synth up close while relaxing on the couch/recliner.  With the wood panels attached it was about an inch or two too wide for mine.  When you remove the wood panels the sides are exposed so I used some construction paper to cover them.  One other thing to note is the power cable connects to the back of the unit so you will need the side panels or other for support if you plan to lay it flat on a table (I'll be using a pillow for the recliner).  Synthesizers.com does offer straight panels in addition to the angled panels I have.  Personally I prefer the angled panels as that allows the Box11 to stand upright while patching in the studio.

A few side notes: in one of the pics you can see an iPad.  That's an iPad Mini Retina, not a full blown iPad for scale.  I love the iPad for sequencing on the fly so I was testing out the system with StepPolyArp (a nice feature with the app is it has a built in keyboard you can play with the sequencer off).

In regards to attention to detail, be sure to see the pics of the cables and packaging.  The cables are high quality and have Synthesizers.com logos on them. I thought this was a nice touch and added to the overall cohesiveness and quality of the system.

The packaging included detailed notes on each module.  Many manufacturers would just refer you to the website, so  I thought it was worth calling out as a nice added touch.

Sticky rubber feet to put under the wood panels so you don't scratch them were also included.  Note the panels do ship intact, so you do not need to do anything but plug the Box11 in and patch it up when it arrives.

The Box11 truly is a beautiful system.

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MakeProAudio X - DinoPark Mobile EX (Synth Engine Play-through)

video upload by NOISEBUG

"Here is a walkthrough of all the DinoPark synth engines with some of our favorite patches. In the video we see the DinoPark Mobile EX though these synth engines are common to DinoPark Eurorack, DinoPark Mobile and DinoPark Mobile EX."

Note the synth engines are from the Creamware SCOPE Platform, also found in the Use Audio Plugiator. DinoPark is also available as a eurorack model. You can find additional posts here.

via Noisebug

"DINODIALS - ADD MORE KNOBS AND A SNAPSHOT FEATURE!
DinoDials are an optional expansion for DinoPark mobile (and mobile EX) devices and can be slided into the rails on the top of the unit. DinoDials come in two sizes - with either 8 or 12 touch-sensitive and freely assignable encoders! The display of the DinoPark will show the name of the parameter already when you slightly touch a knob - that makes “remebering” parameters real easy. Your favourite parameters in direct reach - great for your performance!

Another great performance feature is the Snapshot functionality which the DinoDial makes available! The encoders have a push switch function. A long push will store whatever sound is currently heard for later recall. Then, when playing live, a quick push of an encoder will recall the model/sound combination in a fraction of a second! and DinoPark does it in a fraction of a second. You can save as many different Snapshots as there are knobs - so 8 for the DinoDials 8 and 12 for the larger DinoDials variant!

THE SECRET BEHIND THE SOUND
There are specialized synthesizers that give you great results within their limited scope of specialization. Then there are versatile synthesizers that cover a large sonic spectrum using a sample-playback engine. And then there is DinoPark.

Nothing quite compares to its coupling of modular software technology and dedicated uber powerful Analog Devices SHARC DSP processor to do the sonic math. It’s this unprecedented technology pairing that puts DinoPark - and its CreamWare predecessors like Noah and the ASB units - in a class all by itself and how it can emulate such a variety of synthesizers and synthesis forms, in the most minute detail. DinoPark is a multi- specialist that can load - and perform as responsive hardware - very different synthesis specialization, thus being able to cover a very large sonic spectrum while delivering superior sound quality, like only specialized synthesizers can.

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Arcaico Instruments Eurorack Modules

Playlist:

Arcaico Warhorse Scuderia limited edition
Arcaico Gorgone 360°
Arcaico Gorgone CV Delay time + LFO
Exploring sound with Arcaico Gorgone (only 2 sawtooth wave)
Arcaico Gorgone analog multiFX eurorack format

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NAMM 2013: KingKORG Details via KORG.de

German | Googlish:

Some of the highlights below. Be sure to click the pics for the full size shots as always.  You'll find more at the links above.

"KingKORG | synthesizer

The king of the analog modeling synth - a terrific live performance

KingKORG is de r independent analog modeling synthesizer with a huge potential! KingKORG embodies the seamless continuation of the design philosophy of classic KORG analogsynths like the MS-20 and Mono / Poly, from which the Prophecy have originated Z1, MS2000, and RADIAS. This fascinating new instrument has the unique characteristics typical synthesizer and an arsenal of practical controls for a perfect sound design. Despite its impressive technology and synth beginners become familiar with KingKORG quickly. On stage, he offers not only his great sound, but also literally, with its magnificent champagne-gold finish that emphasizes its royal name - KingKORG.

Highlights

Full featured analog modeling synth with 61 keys - optimized for live performance
Powerful oscillators - understandable for beginners, fascinating for experts
Modeling Filters for the reproduction of classical instruments
3 effect sections (each with 6 types of effects) to the perfect design of the sound
Vacuum Tube Driver for brilliant overtones fat Distortion
New panel layout for intuitive operation
CV / GATE OUT jack mono tribe or to control a Korg MS-20 (mini)
Free Librarian software for program management to download"

"Powerful oscillators - understandable for beginners, fascinating for experts

In addition to a complex "3-oscillator x 2-timbre" technique to generate richer and more detailed sounds KingKORG features a newly developed XMT modeling sound engine. XMT (Xpanded Modeling Technology) is a proprietary Korg technology that allows easy operation in producing diverse sounds.

In conventional synthesizers, the individual oscillators while the sound creation only sequentially adjustable, the overall picture is hard to overlook. In contrast, offers KingKORG preset algorithms with various combinations of oscillators, which differ in type and number, and allow easy, fast creation of cool sounds.

The wide range of oscillator algorithms including not only the usual analogsynths sawtooth and square waves or noise generators, but also numerous PCM / DWGS algorithms that open up an entirely new field for a very custom sounds."

"Modeling Filters reproduce the sound of vintage instruments

Since the filter section on the characteristics of a synthesizer decides significantly, they found during the development of KingKORG special attention. The already large variety of analog modeling filter is significantly extended by the extremely flexible filtering of KingKORG.

In addition to the wide range of indispensable analog modeling filter types get realistic filter models to reproduce the analog monophonic lead and bass synths of the 70s, the New Wave typical polyphonic synths of the 80 and the filter of the classic Korg MS-20 analog synth.

Furthermore, can the setting of the filter resonance up to self increase - an existing analogsynths only real feature!"

"3 effect sections with 6 types of effect for a perfect make-up sound

KingKORG offers three effect sections with six types of effects: PRE FX with effects such as distortion and amp simulator FX MOD with classic effects such as phaser, chorus and tremolo, and REV / DELAY with spatial effects such as reverb and delay effects and different Plate. Each effect processor has it own dial to select the desired effect type. With the arranged underneath FX controls can precisely fine-tune the effect."

"Vacuum Tube Driver for brilliant overtones fat Distortion

Based on decades of experience in analog technology, a fully developed KORG analog vacuum tube driver circuit as a mastering effect for KingKORG. It produces the entire range between warm sonority and intense overdrive."

"Vocoding

The built-in vocoder uses the input of the Board held on microphone input for sound processing and brings the synth seems to speak.

His Formant Shift function causes dramatic sound modifications, while the Formant Hold function a vowel is "frozen", which can then play with the keyboard.

Thanks KingKORGs Doppeltimbre architecture can combine the vocoder even with a different timbre and use it as additional sound or modulation source.

Virtual Patch function

With many classic synthesizers (such as the MS-20) could configure the signal flow with patch cables to physically connect one element to another. KingKORG forms this function by using an intuitive virtual patch system. Over six Virtual Patch assignments per timbre can be joint control signals such as EG, LFO, or virtual joystick movement with sound parameters like pitch or cutoff and modulate these creative."

"Step Arpeggiator function

The Step Arpeggiator automatically generated from a sustained chord a tone sequence (arpeggio). You can choose among six Arpeggio and set duration, interval and on / off status of each Steps to arpeggios exactly to your own performance.

New panel layout for intuitive operation

The newly designed control panel is divided into logical blocks that direct the attention to the things that are for the processing of sounds important. Although KingKORG reflects the signal flow of a analogsynths in its construction, to its control panel is the most modern technology. For example, the oscillator section shows on its own display the name of the currently selected algorithm.

By turning the selector dial to appear adjacent to it are descriptive names, and by pressing the wheel to jump to the beginning of categories such as ANALOG or DWGS. The knobs are the most effective and most important parameters assigned to each oscillator and provide access to the unique features of an analog synthesizer sound design --- by turning knob. Also for each of the three effects, a separate controller is available to easily experiment with different effect settings and test their effect on the sound. A self-luminous organic EL display (Organic Light-Emitting Diode) provides on dimly lit stages for excellent readability."

"On the CV / GATE OUT jack allows an analog signal for controlling a mono tribe or KORG MS-20 output. With the included cable you can then eg play the mono tribe on KingKORG keyboard!"

This one in via Robert Karasek

Yamaha Officially Introduces the New Montage Synthesizer

MONTAGE Development Story

Published on Jan 21, 2016 yamahacorporation

Update: Two new videos from Kraft Music added under the press release below.

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SDS Digital Reflex LiveLoop & ModEM-1 LFO & ADSR Eurorack Modules

Published on Sep 14, 2016 freshnelly

The above is a playlist of all the videos currently featured on the freshnelly channel. The first 29 are on the SDS Digital Reflex LiveLoop eurorack module, followed by four on the ModEM-1 LFO & ADSR, followed by a few DIY videos.

The following is some info on SDS Digital Reflex Liveloop module via freshnelly.com. I couldn't find additional info on the ModEM-1 LFO & ADSR as the home page requires Flash which I do not have installed.

"Introducing the Reflex LiveLoop! The tradition of sampling in the modular world has always been guitar pedal loopers, offering no external control, or a large complex external box, or modules with only 3 or 4 seconds of sample time. The Reflex LiveLoop breaks all of these barriers by gracing your rack with only 16HP, but sporting a full 174 seconds of sampling time @48KHz 16 bits, in stereo! This is better than CD quality sound, ready to manipulate with CV's and triggers in multiple layers, and record all at the same time.

The Reflex can slice up a long sample using the unique "peak slicing" algorithm, a trigger, or just a button. The power of these slices is then accessible via CV and trigger. Furthermore, they can be modified with the PlayFX button to tune the start and end points for each slice. These slices, or even samples, can also be Granulized into a micro loop, which then can move reverse or forward at varying rates up to 2 times. This also allows for pitch shifting a sample without changing the beat, or changing the speed without changing the pitch.

With 3 different Modes, Record/Play, Echo, and Layer, all with the ability to sync to an external clock, almost every sampler /looper requirement can be realised. Imagine an echo, synced by a trigger/ clock/ foot switch/ Record button, with controlled feedback and even a 3 band EQ. Then imagine it being 30 seconds or 8 bars long! The echo can be switched to an infinite echo that will continue forever, or can degrade according to feedback settings, EQ settings, or a feedback insert that can run through any filter or FX that you can imagine!

The Reflex LiveLoop can take you intuitively on a sonic voyage you don't want to miss!

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